So Hov aka Jay Z aka Jay Hova released his “demo” tape for us with an image that has history. Of course, they aren’t talking about that but I WILL. Why? Because all artist/photographers should get their credit. It’s like a producer in music. Even though these days we don’t read cd insert credits like we use too and most the time producers don’t get their credits unless they know the business. BUT needless to say… this one is worth talking about. The same guy that took HOV’s demo photo is the same guy that was Biggie’s favorite photographer and was invited when most weren’t.

Same guy that has more than one pic of Jay Z.

And has images of Wayne when he was “little” and almost tat-less (making up words is cool).

And this IS NOT the first time this image has made it across the world. It is currently being shown in Paris, France at the Maison Folie Moulins as well as in Jersey City, NJ.

This photographer has been behind some of Hiphop’s dopest covers and in magazines from Time to Vibe.

This notorious photographer is known to many as Brother Ernie but professionally it’s Ernie Paniccioli. Author of “Who Shot Ya?”, subject of “The Otherside of Hiphop” and last year inducted into the Hiphop Hall of Fame as well as most recently honored at Jersey City City Hall. Who is still humble, wise an undeniable force in Hiphop. But as we know most of today’s Hiphop doesn’t honor the legends like they should. Maybe it’s pride. Maybe they want to be the cool one and not give any shine. I mean why wouldn’t you want to embrace the dude that took pics of you before you were “on top”? Just for story or nostalgia purposes at least. I mean his site is dope and does cover a lot of ill content with culture. Maybe Hov doesn’t feel or think that way but to me it makes the story more meaningful. What do you think?

For over 30 years Ernie Paniccioli, who many call Brother Ernie, has captured the raw essence of graffiti and hiphop culture in New York and New Jersey. On Tuesday, Jan 13th we will honor him with a ceremony at Jersey City’s City Hall building. The show will include never seen before prints, personal artwork of Brother Ernies and have the chance to get your prints or books signed. He is a lovingly grumpy and totally great storyteller kind of guy who might look intimidating but is a cuddly bear who emanates love and respect.

After the show there will also be a Networking Mixer one block away starting at 9pm so join us – Bistro Cafe’! Meet with some of Jersey’s finest and continued conversations with hiphop legends. Brought to you by SocietyNeedsCulture.com Sounds by DJ Bizznice.

Ready to Die is the debut album of American rapper The Notorious B.I.G., released September 13, 1994 on Sean “Puffy” Combs’ Bad Boy Records. It serves as the first release on the record label. Recording sessions for the album took place from 1993 to 1994 at The Hit Factory and D&D Studios in New York City. The partly autobiographical album tells the story of The Notorious B.I.G.’s experiences as a young criminal, referring to himself as “the black Frank White”. Ready to Die is his only studio album released during his lifetime; B.I.G. was murdered days prior to the release of his second album Life After Death (1997).

Ready to Die gained strong reviews on release and became a commercial success, reaching quadruple platinum sales. It was significant for revitalizing the East Coast hip hop scene, amid West Coast hip hop’s commercial dominance. The album’s second single, “Big Poppa”, was nominated for a Grammy Award for Best Rap Solo Performance at the 1996 Grammy Awards. Ready to Die has been regarded by several music critics as one of the greatest hip-hop albums of all time. In 2003, the album was ranked number 133 on Rolling Stone magazine’s list of the 500 greatest albums of all time, making it the third highest hip hop album on the list. In 2006, Time included it on its list of the 100 greatest albums of all time.

The production on the album was mainly handled by Easy Mo Bee and The Hitmen, and it was generally well-received by critics. Rolling Stone described the beats as “heavy bottomed and slick,” enhancing the lyrics but not standing in their own right. The production is mainly sample-based with the samples varying from the percussion of funk tracks to the vocals of hip hop songs. Steve Huey presented some criticism over the beats, stating that the “deliberate beats do get a little samey, but it hardly matters: this is Biggie’s show” Cheo H. Coker depicted the beats as “heavy bottomed and slick, but B.I.G.’s rhymes are the showstoppers. The tracks only enhance them, whether it’s the live bass driving a menacing undercurrent or [the] use of bluesy guitar and wah-wah feedback” and that the production is used to “push the rapper to new heights.”

I miss your smile, I miss your touch; I miss the voice I loved so much.
And when Im sleepless in the night, I miss the arms that held me tight.
It seems like only yesterday, so quietly you slipped away.
You were the rock I leaned upon, Ive had to be strong now you’ve gone.
No tomorrows for us to share, still I sense you everywhere.
The love we had, even death cannot sever; deep in my heart it lives forever.
Each night I gaze at the starlit sky, reliving the years of you and I.
~Nicole